HONOURS BACHELOR OF MUSIC THEATRE PERFORMANCE

Bachelor’s Degree Program Program Code: PBAMT

Trafalgar Road Campus

IMPORTANT:
The following is for information purposes only and serves to inform applicants of the possible
components to be included in a portfolio submission. These requirements are subject to
change from year to year. Do not submit any materials unless specifically instructed to do so,
after applying to the program. Once you have applied to this program, specific instructions and
submission details will be provided to you in your Sheridan Student Account.

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Program Eligibility

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Ontario Secondary School Diploma or equivalent, including these required courses:

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 One English, Grade 12 (ENG4U) plus:
 Five additional Grade 12 subjects at the U or M level
 Minimum 65% overall average, or
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 Two semesters of postsecondary education including required courses with minimum
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65% overall average. (In previous years, the actual admission average has usually been
in the 79 – 80 % range.)
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Selection Process for Applicants

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Eligible applicants are selected on the basis of previous academic achievement (the average of
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their six highest senior-level credits, including required courses), and on their skill and potential
as demonstrated in a comprehensive audition. Please note we do not accept letters of reference
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from applicants.
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GENERAL INSTRUCTIONS FOR APPLICANTS

There are two stages to the audition process. Stage 1 requires an online submission of
specific audition portfolio components. This includes a headshot, an artist’s statement,
videos of 2 songs, a monologue and a dance sequence (4 videos in total).
Stage 1 instructions will be provided to applicants. A $75 assessment fee will apply.The
deadline for submissions of all material is February 21, 2019 at midnight (Eastern
Standard Time).

If successful in Stage 1, applicants will be required to attend Stage 2, a callback audition, in

person, at Sheridan College (Trafalgar Campus, Oakville, Ontario). Applicants selected for the
in-person callback will be notified by their Sheridan email account in early March 2019 in order
to make travel plans. Callbacks will take place in late March 2019. Applicants will be
provided with a specific date for their in-person callback audition. This information will not be
released over the phone.
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For the in-person callback audition, we advise applicants to plan to spend the entire day at
or within proximity of Sheridan. Assessment of vocal and acting ability takes place between
an individual applicant and the adjudicating panel. Following the dance assessment and
group improvisation assessment, we will provide each applicant with a time slot for their
individual assessment so that applicants may plan their day accordingly.

Applicants will be notified about decisions for entry into the program by their Sheridan email
account. These decisions are usually released within one month of the audition callbacks
i.e. late April, early May and will not be released over the phone. Fee, registration and
timetable information will follow.

STAGE 1 – ONLINE SUBMISSION

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Applicants will be required to watch three videos and will receive links to them in

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their Sheridan Student Centre account: PROGRAM OVERVIEW video, DANCE

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ASSESSMENT EXERCISES video, and SAMPLE AUDITION video.

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After viewing the videos, applicants will be required to submit the following online
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and will receive detailed submission instructions:
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a) ARTIST’S STATEMENT: Reply to the question: Why are you applying to the
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Honours Bachelor of Music Theatre Performance Program at Sheridan? (Maximum

500 words, PDF)
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b) PHOTO: a current photo of you, either black & white or colour, headshot preferred.
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c) VIDEO AUDITION COMPONENT including:

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1. A monologue from a contemporary play, no longer than one minute (a list of

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suggested pieces is attached). The monologue must be memorized and

should be performed in the context of the play.

2. Two music theatre songs of at least thirty two-bars each. Both songs must be
memorized and one should be from the Golden Age of Music Theatre
(1943-1964). A list of suggested pieces is attached. Sing with recorded
or live accompaniment, not a cappella. This song portion should be no longer
than 4 minutes in total.
3. A demonstration of you performing the three dance exercises from the video
demonstration (i.e. port de bras, chainé turns and jetés). Please use the
accompaniment track provided for these exercises in your video.

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Video Preparation Suggestions
The faculty realizes that making audition videos adds extra challenges to the application
process. Please know that you will not be evaluated on the quality of the video recording
itself. It is not necessary to submit a multi-camera, highly technical studio video. The main
goal is clarity, so that your work can be seen and heard.

 Dress as you would for an in-person audition.

 Avoid extreme close-ups and be sure to include full-body shots. The majority
of the shots should be medium shots (i.e. waist up).
 Try to balance the volume of the piano with your singing, but don’t sing with a
microphone or extra amplification.
 For your songs: say your name and the name of the song and the musical it is
from.

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 For your monologue, say your name, the character and the play the monologue

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is from.

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 For dance, say your name and introduce each exercise.
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Recording on a phone device will be fine.
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STAGE 2: IN-PERSON CALLBACKS AT SHERIDAN COLLEGE

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Those invited to the in-person callback audition will be required to bring: A recent 8 X 10
photo and a hard copy of your artist’s statement (the same one submitted online).
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1. Dance Assessment
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The dance assessment determines your aptitude for dance pertaining to music theatre. After
a physical warm-up, a routine will be demonstrated and taught and applicants will be asked
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to perform it in smaller groups. In order for the auditors to assess fairly, you must wear
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suitable dance attire. Women should wear jazz shoes, leotards, tights/and or dance skirts.
Men should wear jazz shoes, t-shirts, jazz pants or shorts.

Applicants are not required to have formal dance training, but it is highly recommended to
score effectively. We need to see that the applicant has some natural facility, performance
ability and is willing to try anything.

2. Group Improvisation Assessment

The improvisation exercises you will be involved in could take a variety of forms, but
anticipate a physical experience. The emphasis will be on listening to others and reacting
spontaneously with members of your group. We are watching to see how well you
collaborate and engage in the storytelling, in a group setting. A demonstrated willingness
to play is emphasized.

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3. Panel Assessment

a) Two contrasting songs

Be prepared to perform the two songs from your video submission. These should be contrasting,
age-appropriate songs from the musical theatre repertoire. One song must be from the
Golden Age of Musical Theatre (1943 – 1964). Attached is a suggested list of Golden Age
songs. You must provide your own sheet music in the right key. We want to hear your true
voice. Please avoid character songs that one would perform with a manufactured voice or
accent. For example, “Adelaide’s Lament” from Guys and Dolls or “I’m Not That Smart” from
The 25th Annual Putnam County Spelling Bee. Although you are allowed to move freely
in your song performances, please do not choreograph or over-stage your songs.

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Please Note: An experienced accompanist will be provided and you will be expected to

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perform with that accompanist. Your interaction with our accompanist is an essential part

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of your audition. You may not accompany yourself. Your sheet music must be legible and
in the key in which you wish to perform it. Do not fold or bend or staple your sheet music.

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If you use photocopied music, put your music in a 3-ring binder.
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b) A monologue
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Perform the monologue you submitted online i.e. one contemporary, age-appropriate
monologue (not to exceed 60 seconds). Attached is a suggested list of contemporary
monologues. Applicants may also choose from other material if they wish.
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c) A redirect
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A member of the adjudicating panel will ask you to redo a portion of your song or
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monologue with a specific change in focus. They may ask you to change the character or
relationship or even the objective (want). They may ask you to do something that seems a
bit odd, or incongruent with what you know about the play/song/character. This is meant
to give the applicant a chance to demonstrate versatility, openness and willingness to take
risks as an actor in-training.

d) Participate in a discussion with members of the faculty.

The music theatre industry is a highly social one. After your song and monologue
performance, the auditors will engage you in a brief conversation. Be yourself, breathe. It
is about human connection.

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WHAT ARE WE LOOKING FOR?
Someone who…
 Has intellectual curiosity, imagination, initiative, discipline and recognizable talent
as well as the potential to succeed in our program.
 Is prepared but flexible and is clearly a team-player.
 Is present in their body i.e. comfortable physically.
 Can communicate ideas in dialogue/lyrics, music and dance.
 Sings the notes, rhythms and words accurately, with a clear sense of pitch, an
understanding of musical line, and a healthy vocal approach that doesn’t push
the voice beyond your own natural vocal range.
 Is committed to acting as the basis of all music theatre training.
 Appreciates and takes pride in the artistic growth of fellow students.
 Has general interests beyond the arts, and is fully engaged in understanding the

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world at large.

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 Is committed to find ways in which the arts can impact and enrich modern

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society.
 Has done their research about Sheridan College, the Faculty of Animation Arts

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and Design and specifically the Honours Bachelor of Music Theatre Performance
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Program (e.g. talk to recent alumni, attend shows and open houses)
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 Is committed to an environment that integrates academic and conservatory

training.
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Separate rubrics are provided to applicants for both the online submission and in-person
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callback portion of the audition process. The staff of the Admissions office and the
Faculty of the Honours Bachelor of Music Theatre Performance Program are not
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able to provide individual feedback from the student auditions because of the volume of
candidates to consider. We ask for your understanding, and thank you in advance
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for not requesting individual feedback via phone calls or emails.

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Please note: This is a highly competitive program for which the number of eligible
applications exceed the number of qualified applicants to fill the program. On average we
accept 45 students each calendar year.

Audition Material Suggestions – For Online Auditions and In-Person Call Backs

Choose songs with which you can communicate a specific situation in a clear context with
an objective (goal). Make the situation as honest and specific as possible. Even with 32-
bar cuts try to give the song a progression (an arc). Select material that is suitable for your
age and experience. Choose songs which fit comfortably within your range. Explore the
lyrics of the song as carefully as you explore the music. Be absolutely certain that you are
singing correct words, notes and rhythms.
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Below is a suggested list of Golden Age songs. Applicants may also explore other
repertoire from the Golden Age of Broadway (1943-1964).

Women’s Golden-Age Songs M en’s Go lden-Ag e So n g s

Many a New Day from Oklahoma Almost Like Being in Love from Brigadoon
If I Loved You from Carousel On the Street Where You Live from My Fair Lady
Mr. Snow from Carousel If I Loved You from Carousel
If I Were a Bell from Guys and Dolls Something’s Coming from West Side Story
Show Me from My Fair Lady I Met a Girl from Bells Are Ringing
The Simple Joys of Maidenhood from Camelot I Believe in You from How to Succeed in Business Without
It’s a Perfect Relationship from Bells Are Ringing Really Trying
Once You Lose Your Heart from Me and My Girl Leaning on the Lamppost from Me and My Girl
Much More from The Fantasticks When I’m Not Near the Girl I Love from Finian’s Rainbow
Gorgeous from The Apple Tree She Loves Me from She Loves Me
How Lovely To Be a Woman from Bye Bye Birdie Tonight at 8 from She Loves Me
Far From the Home I Love from Fiddler on the Roof Try Me from She Loves Me

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Miracle of Miracles from Fiddler on the Roof

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Choose monologues that are appropriate for your age and experience. Be able to discuss your

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selection. It’s best to select monologues from plays, as opposed to special material written for
monologue books, or found on websites. Avoid historic styles, such as Shakespeare, and verse

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or poetry. Avoid dialects. Use good judgement in selecting the monologues, avoiding pieces that
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may be inappropriate because of language or situation.
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Below is a suggested list of contemporary monologues. Applicants may explore other repertoire.
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Women’s M onologues M en’s M o no log u es

Patsy from Little Murders by Jules Feiffer Owen from Melville Boys by Norm Foster
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Jean from August: Osage County Paul or Rick from Six Degrees of Separation by John Guare
Rainy from Adventures of a Black Girl in Search of God Miles from The Drawer Boy by Michael Healey
by Djanet Sears Booth from Topdog/Underdog by Suzan-Lori Parks
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Rebecca from The Unnatural and Accidental Women Biff from Death of a Salesman by Arthur Miller
by Marie Clements
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Rodney or Michael from Lion in the Streets by Judith

Beneatha from A Raisin in the Sun by Lorraine
Thompson
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Hansberry
Jim or Tom from The Glass Menagerie by Tennessee
Steph from Reasons to be Pretty by Neil Labute
Ernestine from The Anger In Ernest and Ernestine by Williams
Robert Morgan, Martha Ross and Leah Cherniak Eugene from Brighton Beach Memoirs by Neil Simon
Bobbi from Papers by Allan Stratton Dale from F O B by David Henry Hwang
Lise from Les Belles Soeurs by Michel Tremblay Starbuck from The Rainmaker by Richard Nash
Sharmaine from Da Kink in my Hair by Trey Anthony Mohammad from Relative Good by David Gow
Marie-Adele from The Rez Sisters by Drew Hayden Jung from Kim’s Convenience by Ins Choi
Taylor Leon from Sucker Punch by Roy Williams
Meghan from A Nice Indian Boy by Madhuri Shekar Tommy from Rice Boy by Sunil Kuruvilla
Esther or Mayme from Intimate Apparel by Lynn George from Intimate Apparel by Lynn Nottage
Nottage Rodrigo from Leo by Rosa Labore

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